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Set three years after the events of The Dark Knight Returns, The Dark Knight Strikes Again follows a similar structure: once again, Batman hauls himself out of his self-imposed retirement in order to set things right. However, where DKR was about him cleaning up his home city, Gotham, DKSA has him casting his net much wider: he's out to save the world.

The thing is, most of the world doesn't realise that it needs to be saved--least of all Superman and Wonder Woman, who have become little more than superpowered enforcers of the status quo. So, the notoriously solitary Batman is forced to recruit some different superpowered allies. He also has his ever-present trusty sidekick, Robin, except that he is a she, and she is calling herself Catwoman. Together, these super-friends uncover a vast and far-reaching conspiracy that leads to the President of the United States (Lex Luthor) and beyond.

The Dark Knight Strikes Again is largely an entertaining comic, but much of what made The Dark Knight Returns so good just doesn't work here. Miller's gritty, untidy artwork was perfect for DKR's grim depiction of the dark and seedy Gotham City, but it jars a bit for DKSA, which is meant to depict an ultra-glossy, futuristic technocracy. Lynn Varley's garish colouring attempts to add a slicker sheen, but the artwork is ultimately let down by that which worked so well for DKR--this time around, it just feels sloppy and rushed. The same is true of the book's denouement, which happens so quickly that it leaves the reader reeling and looking for more of an explanation. Moreover, DKSA is packed full of characters who will mean little to those unfamiliar with the DC Comics universe (eg, The Atom, The Elongated Man, The Question).

Perhaps the book's biggest failing is that where The Dark Knight Returns gave comic book fans a base from which to evangelise to the uninitiated, The Dark Knight Strikes Again is just preaching to the converted. Comic book superhero fans will find much to enjoy here, but others would be better off sticking with the original. --Robert Burrow

Average Customer Rating:

Better than I expected

Customer Rating:

I like Frank Millers "Dark Knight Returns", and "The Dark Knight Strikes Again" is different but equally brilliant. The story brings in the whole DC universe, like Lex Luthor, Superman, Green Lantern and so on. But also less widely known like the Atom, Flash, Brainac, Captain Marvel, the Question, Wonder Woman and a new Supergirl. And the Bottle City of Kandor. I think all of this is very well done, especially as I read these comics as a child. The graphics are splendid and done in Millers personal style, and worth checking out even if you're not totally into the superhero genre. The story: Lex Luthor and Brainac have taken control of Earth and subdued the superheroes. And Batman rises against them. Recommended to everyone interested in comics!

DKSA

Customer Rating:

"Dark Knight Strikes Again" is a continuation of Miller's seminal "Dark Knight Returns," and runs with many of the latter's themes, particularly the mutual emnity of Superman and Batman. One can read "Dark knight Returns" as an analogy of the way in which power is willingly given to a Government or resentfully refused it by the People - the characters of Superman and Batman provide voices for two points of view and two actions - Superman gave his power away and immediately compromised, put his shoulder to the wheel in support of Authority, as most people eventually do, whereas Batman's mindset would never allow him to do so - it was not Authority he served but Revenge (although he would call it Justice,) and is representative of the quietest but most insistent voice in all of us that will neither apologise nor compromise, and will never stop resisting, railing against everything it sees as flawed. The dialogue between these two voices continues in DKSA, but the struggle is gone from it, as if Bruce has thrown aside the last shreds of restraint and ordinary morality. The problem is that a fair chunk of characterisation and believability went out along with it. Where DKR took pains to present Batman's case, involving the reader with his struggle and its consequences, DKSA forces the reader to take a back seat as a slightly bewildering story is unfurled at breakneck speed. No decisions are taken, no consequences dealt with - the entire story is a straight dramatisation of the way in which Batman's plan comes to fruition, and the reader arrives in the opening chapter with that plan already underway. The character should always take precedence over the plot, and this, too, is lost - in DKSA the plot revealed the character's nature in the way of the best literature, but in this sequel it continues in spite of the character, and reveals little if anything about him. In fact, Batman is almost a support character - the only real characterisation is presented in Catgirl, formerly Robin, and through Superman's moral dilemma. Another problem is that the sense of pace, the rhythm established in Dark knight Returns is lost, or at least misplaced. Miller rattles through the book at speed, and although the book is by no means short, the increase in pace, in which many elements are not explicitly presented, causes the reader to feel rather lost. The art, too, is instrumental in this - there are almost no backgrounds, no places to which the reader can relate. Virtually the entire book is composed of figure drawings and talking heads, without backgrounds to give them context. The talking heads apparently representing newsreaders or chat-show guests are presented alongside those apparently representing people on the streets, and nothing is done to separate them - perhaps Miller is making a point about Mass Consciousness, but it makes for uncomfortable reading. It seems likely that Miller had lost his temper. It is always tempting, whilst writing anything, to describe a personal fantasy, especially where Superheroes are involved: "If I was Superman I would set everything right" or "If I was Batman I would beat the daylights out of all the evil people," but a fantasy doesn't necessarily make a good story. DKSA is a fantasy in which the implacable, remorseless Batman unites the People to rise up against Tyranny and destroy it - Miller is a true Anarchist, and shows his colours here, and I salute him for it, but good stories are tales of struggle, as DKR was, and the sequel is just a tale of action. Maybe I ought to read it a few more times, and revise this review. However, none of the above is any reason not to buy and enjoy this book. It is a fine comic by a great writer. As a bellowing fountain of anti-authoritarian rage, it is wonderful - Miller's theme seems to be, "If only they were real, these heroes, and not simple drawings... then we'd see."

Classic in its way...

Customer Rating:

This sequel to Dark Knight Returns, arguably the best-known Batman story ever, retains a similar tone of rebellion to the first. However, it doesn't maintain the integrity of the first part. One of the reasons for this is Miller's decision to centre the story not on Batman, but on his former allies. With no regard to modern continuity, Barry Allen aka The Flash is rescued from a power station in Bruce's last attempt to bring down the government. Whilst Miller's portrayal of the character is classic, there is little focus on Bruce at all. He has become understandably bitter with old age, and especially angry with the world. This, is where the problem lies. Although I can appreciate Miller's rage towards the modern government, I don't think it warrants drowning out potential plot points that could explain more about the character's motives. Another problem lies in Miller's inks. This guy NEEDS Klaus Janson to personify his work, a la DKR. When Miller inks his own work, it just doesn't work. I hope Miller's upcoming Batman story about Batman's war with terrorism doesn't suffer the rush job that this did. If I was being honest, much of the real character of Bruce Wayne is drowned by pointless developments, primarily the treatment of Dick Grayson, the first Robin and Nightwing, as well. This character is essentially used as a villainous device, doing a disservice to a fantastic character. The few qualities that save this lie in a return to the world that Miller created. It is a world I will find in no other books by anyone. The world feels dark, and false and as such, everything is never quite as it seems, and nobody can be trusted. Although this is Miller's message, I feel it ruined the idea of the story. Dark sattire can be acheived whilst still creating a great story such as V For Vendetta by Alan Moore. However, all I can do now is hope that his new Batman title with Jim Lee will be as awesome as his other Batman work.

Ugly

Customer Rating:

I wonder what DC thought about this book? They probably thought 'Frank Miller = $$$', but I'll tell you what I think. The first thing that bothered me about this book was the artwork. The drawings here range from dark and twisted to light and twisted- grotesque, ugly, pretty much offensive inkings coloured in a neon CG style that is devoid of subtlety or charm with garish pixellations and psychadelic special effects thrown in seemingly for the hell of it. These images ride on the back of an insane and incoprehensible lurching monster of a storyline populated by characters without depth, and whose actions and attitudes seem not to reflect their long standing DC universe histories but Frank Miller's own fantasies of total chaos and violence. Here's the thing- in spite of the apparently slack penmanship, rushed inking and inept colouring, there is something about the book that sticks. If you can will yourself to see past the robotic dinosaurs, the space cannons, the digital president and a very unfortunate sex scene, you might just see what Miller's getting at. To me the book is a defiant roar- a terrible, gutfelt, nauseous belch in the face of the establishment, and a call to arms for anyone an everyone who ever felt wronged by their government. Bush take note. Unfortunately, perhaps for me and not for the book, I was disappointed. There was too much I didn't like. But if the message of revolution didn't quite sink in after the first DK series- if you need to be insulted before you get it, then read this. Why not?

Passionate, angry, flamboyant, fabulous

Customer Rating:

I loved DKR and I loved this at least as much. I had to read it cover to cover twice in one sitting. I think that the unfinished, scrawled, flamboyant artwork perfectly complements the anger and bitterness that Miller feels about the world that we live in. The story, dialogue and images totally reflected the anger and betrayal I feel when faced with the inanities of the press and the downright dishonesty and corruption of the politicians.